p. 184, col. 2, last line of text: Change superscripted numerals to ‘64’.

p. 185, col. 3, n. 63: Change reference number to ‘64’ and add note before this one: ‘63 These readings were written by Tolkien on a separate leaf.’

p. 195, col. 1, l. 1: For ‘ninety degrees’ read ‘forty-five degrees’.

p. 202, caption for fig. 198: For ‘Pengolð’ read ‘Pengoloð’.

p. 202, n. 2, l. 7: For ‘Pengolo’ read ‘Pengoloð’.

p. 204, col. 2, bottom line: For ‘Pengolo’ read ‘Pengoloð’.

p. 204, col. 3, bottom line: ‘Etymologies, The’ should be in italics, not in caps and small caps.

p. 205, col. 1: ‘Gandalf’ (i.e. the second entry for that name, as the title of a picture) should be in italics, not cap and small caps.

p. 205, col. 2, l. 9: For ‘Tumladen’ read ‘Tumladin’.

p. 205, col. 3: ‘Kortirion among the Trees’ should be in italics, not in caps and small caps.

p. 206, col. 1, l. 2: For ‘Madelener’ read ‘Madlener’.

p. 206, col. 1: ‘Mirkwood’ (i.e. the second entry for that name, as the title of a picture) should be in italics, not cap and small caps.

p. 206, col. 2, l. 2: ‘passim’ should be in italics, not in small caps.

p. 206, col. 2, l. 31: ‘see also’ should be in italics, not in small caps.

p. 206, col. 2, entry for 1931–2 N.P.B. Karhu: The range of dates should be italicized with the rest of the title.

p. 206, col. 2, entry for 1932 A Merry Christmas: The date should be italicized with the rest of the title.

p. 206, col. 2, bottom line: ‘Nuremberg Chronicle’ should be in italics, not in caps and small caps.

These errors were corrected in later printings.

After we passed the first proof of our book, the printer introduced several new errors, which in spite of our efforts were not corrected, or which went unnoticed for various reasons: some figure numbers in captions somehow lost their boldfacing; the numerals on p. 150, although correctly typeset as old-style figures (as used in the rest of the book), were printed as new-style (lining) figures; and on pp. 204–7, all numerals correctly typeset in italics, to indicate figure numbers, were output by the printer as roman type. A few problems with leading (line spacing) were also introduced, and some remain. The ‘2’ of ‘2nd’ on p. 203, col. 1, entry for Pictures by J.R.R. Tolkien, l. 2, was incorrectly set by Wayne as a lining figure (now emended). Only one colour error was made in the reproductions, too late to be corrected and still in error: the dust-jacket design for The Two Towers, fig. 180, p. 181, should be predominantly grey-brown, not olive green.

The following errors are present only in the original (hardcover) British edition of J.R.R. Tolkien: Artist and Illustrator, and have been corrected in later printings:

p. 13, col. 1, l. 16: Maggie Burns notes that ‘For Men Must Work’ is part of the refrain in the poem ‘The Three Fishers’ by Charles Kingsley, ‘For men must work, and women must weep’.

p. 13, col. 1, ll. 3–4 from bottom: Maggie Burns informs us that ‘What Is Home without a Mother’ was sometimes inscribed on Victorian gravestones.

p. 20, fig. 15: Another, undated drawing made by Tolkien at Gedling is Lamb’s Farm, Gedling, Notts (reproduced in Sotheby’s, English Literature, History, Children’s Books & Illustrations, auction catalogue, London, 17 December 2009, lot 178). Its title refers to Arthur Lamb, the farmer who worked the Gedling land for many years before Jane Neave, and whose name probably adhered to the farm in local usage, regardless of the property’s official denotation as Church Farm or Phoenix Farm.

p. 32, col. 1, l. 11: For ‘August 1952’ read ‘July–August 1951’. The date given in the book is that inscribed by Tolkien on the drawing, but the year is incorrect. See The J.R.R. Tolkien Companion and Guide: Chronology, pp. 376 and 794.

pp. 42–3: We describe the ‘Northern House’ (fig. 38) as ‘an unusual building or house with a central smoke-hole’. The ‘Umbrella Cottage’ in Lyme Regis has some points of similarity: a domed roof with a central chimney, and a diamond-shaped window.

pp. 45–7: The Tides (later Sea-Chant of an Elder Day, Sea-Song of an Elder Day, The Horns of Ulmo, The Horns of Ylmir) was in fact a development of a still earlier poem, The Grimness of the Sea, which Tolkien wrote in St Andrews in 1912. We became aware of this original version only when writing the Companion and Guide: see Chronology, pp. 34 etc. The painting Water, Wind & Sand, which appears to date from March 1915, still may have been inspired by the Cornish coast, and later forms of the poem became associated in Tolkien’s mind with Cornwall; but the poem the picture accompanies was certainly not in origin, as we supposed (unaware of The Grimness of the Sea), the result of Tolkien’s visit to Cornwall in 1914.

p. 99, col. 2, second paragraph: The ‘pencil sketch of a hobbit’ has been published in John D. Rateliff, The History of The Hobbit, Part Two: Return to Bag-End (2007), pl. xii, and in our Art of The Hobbit by J.R.R. Tolkien (2011), fig. 102. Also in the latter book, fig. 103 reproduces enlarged details of Bilbo Baggins from seven of Tolkien’s illustrations for The Hobbit.

p. 193: In the final paragraph on this page, we refer to a heraldic device for ‘Eärendil’, using the name as spelled in the published Silmarillion. The envelope on which the device is drawn, however, bears the name ‘Earendel’ (sic), and we used this spelling in the image caption.